Hindi Drama and Solo - Dhruvswamini

The play 'Dhruvswamni' is a short play which revolves around the lead lady character Dhruvswamini. She is the empress of Gupta dynasty but the King, Ramagupta doesn't pay much attention to her and he remains indulge in other women. ... Ramagupta tried to kill Chandragupta cheatingly but got killed instead. 

"Dhruvswamini" is basically a realistic style drama on the surface of sensation. It presents the truths of its time on the ground of intellectualism. It articulates the core of realism—the expression of human suffering and the raising of voices against tyranny—with both content and craft. 

Hindi Drama and Solo - Dhruvswamini

It’s about the prestige of female identity in the play Dhruvaswamini! 

Prasad ji is undoubtedly the only writer of Hindi who has presented a picture of Indian culture, prosperity, power and origin. From the point of view of artistic excellence, Prasad ji's universal plays are three: Skandagupta, Chandragupta and Dhruvaswamini. But Dhruvaswamini certainly stands at the pinnacle of her fame. Dhruvaswamini is the last play of Jaishankar Prasad. It lacks the sentimentality of poetry and the harshness of dialogues as in his other plays. Due to its lively dialogues and well-coordinated storyline, this play has become extremely influential and interesting. But its biggest strength lies in the revolutionary approach of Prasad ji which is expressed through this play and that is that woman is not the maidservant of man. If a man is cleavage (neuter), cowardly and adulterous, then the woman can not only rebel against him, abandon him and choose her beloved man and remarry him. This was unimaginable for Indian society, especially at the time the play was written. 

The drama 'Dhruvswamini' depicts the state of the Gupta Empire, when the reins of rule are in the hands of a cowardly, cleft and adulterous king Ramgupta. Although the crown prince is Chandragupta, he abdicates it for his eldest brother, Ramgupta, and takes him to the throne. Shakraj made an offer to Ramgupta through Khigil as a retaliation for the humiliation of his forefathers from the Gupta Empire. If he wants the security of his kingdom, he should send women as a gift to his queen Dhruvaswamini and all our shrimantas. Ramgupta is already terrified of Shakraj's growing power. Therefore, after consulting her minister Shikharaswamy, keeping in mind the interest of the state, Maharani agrees to send her women to Dhruvaswamini and all the shrimantas of Shakraj.  

When Dhruvaswamini comes to know about this, she directly boldly challenges Amatya and says- 

'I just want to say that the practice that men have made to oppress women considering them as their animal property, cannot go with me.' 

Chandragupta is deeply infatuated with Dhruva Swamini, but due to royalty, he does not allow this sentiment to manifest. Dhruvaswamini is also aware of this truth. He agrees to go to Shakraj with Dhruvaswamini by edict. Suddenly, Shakraj trembles at the apprehension of some evil upon seeing a comet of indigo-coloured color making a terrifying signal towards the fort. Acharya Mihirdev also warns Shakraj that- 

What good will be the result of the terrible crime you commit by destroying the honor of a woman?' 

But the opposite intellect is destroyed. 

'I am Chandragupta your time. I have come alone to test your bravery - be careful!' 

Chandragupta kills Shakraj in a battle and the chorus of the feudal kumars of 'Devi Dhruvaswamini ki Jai Ho' is heard. Dhruvaswamini seems to be an icon of women empowerment. She orders Ramgupta to get out of the fort immediately and the play ends with Dhruvaswamini's decision to choose Chandragupta. 

In the play, the rebellious voice of women is heard against the exploitation of the male-status society. Although the depiction of the condition of the oppressed woman is the main in this play, but due to the modern consciousness full of women's freedom, 'Dhruvswamini' reacts for the first time in it. 

In this play love is defined by coma. Coma says to Dhruvaswamini-

Queen, you are also a woman, will you not understand the woman's plight? May the darkness of your victory cover your eternal femininity, but once in everyone's life the Diwali of love burns. Must have burnt. That festival of light must have come in your life, in which the heart tries to recognize the heart, becomes generous and has the zeal to donate everything. I want Shakraj's body. 

Taking the dead body from Dhruvaswamini, she goes with Mihirdev, but on the way, Ramgupta's soldiers kill her. Hardly any other character could have loved and sacrificed better for Dhruvaswamini in this play. The Dhruvswamini of Prasad keeps on grinding between the two sides of the conflict of love and the dignity of marriage. On the contrary the coma's love begins to wither before his eyes. He is ignorant of the reality of his lover or can say that when we love someone there is a special image of him in our heart which bypasses all good and bad. But sometimes even after this image is broken, some people want to be tied with the love-character. But love has perfected the personality of a coma, not made him a slave.  

So she rejects Shakraj's love-

Don't take the name of love. It was a pain that left. His pain will also gradually go away. King, I don't love you. I was the priestess of your magnanimous idol shining in the mirror, who had the steadfastness to stand with her feet on the earth. I am not familiar with this selfish and dirty idol full of filth. 

But the irony of love is that despite the break in love-relationship, a dim light of it remains in life. There is dedication and sacrifice in love. Coma's love is also devotion and sacrifice for Shakraj, so even after Shakraj's disdain, on his death, the coma reaches Dhruvaswamini to ask for the dead body. 

Ramgupta is not in love with Dhruvaswamini but has a sense of ownership towards her. Even once after marriage, he did not have a physical relationship with Dhruvaswamini. Dhruvaswamini knows where Ramgupta has a break from the bliss of frenzy in wine with the luxuries? Ramgupta considers her to be his wife and has full authority over her.  

He says to Dhruvaswamini-

You are a gift item. Today I want to give you to someone else, why do you object to it?

That is, there are most of the men in the society who consider women as mere objects. * Like Ramgupta, Shakraj also finds a woman only an object of consumption and entertainment. *  

Coma asks-

So am I not a part of your worries? Is keeping that situation a little easier by keeping me apart from her? 

It is to be noted that abduction or abduction of a woman has become a measure of social humiliation and humiliation. If there was a war, the men used to give gifts to the women of the family to save themselves or the women were abducted. That is, a woman has to sacrifice her existence in every war of society. 

Prasad in 'Dhruvswamini' narrates a deep narration of joy and pain with the concept of love, but fails to break through the complexities of the traditional system of marriage. He considers the institution of marriage to be correct in the Indian perspective. But if marriage takes the form of tragedy, Prasad also stresses on its liberation. In the play 'Dhruvswamini', this woman's emancipation evidence is contained. Shakraj is killed in the battle and even in such a situation Dhruvaswamini is caught in the duality of extramarital affair and marriage liberation. She may choose Chandragupta, but she is deeply suspicious of the inclination of her love.  

She tells Mandakini-

I could not understand whether the victory of the fort was my success or my misfortune. I don't want to face the king. Like a corporeal hatred emanating from the earth's surface, prompting me to return after me, why, is it the taint of my mind? Am I committing a mental sin? 

The re-engagement of Dhruvaswamini and Chandragupta is a progression of Prasad, because after the death of Ramgupta, who considers the woman to be a slave on the strength of her masculinity, she chooses Chandragupta of her own volition. 

According to Dr. Ojha- 'The purpose of Swaminatak is to bring to light the problem of remarriage of women. 

In this play, characters like Mandakini have been created who raise their voice against the root scripture that

If you take away all the rights of the women who are tied in the bond of religion, without their consent, then do not leave any retribution, any protection with the religion, so that those women can seek support in their objection. 

Prasad has raised various problems of women in this play, but has tried to find these problems on the basis of Indian thought and tradition. 

The plot of this play is based on the women's struggle and the end is shown only at the end of the women's struggle. That is, the story of Dhruvaswamini has also evolved from the struggle of Dhruvaswamini and ends with its completion. The play 'Dhruvswamini' also includes disasters like 'supernatural, tragic, which also gives importance to coincidence and contingency. In the play 'Dhruvswamini' the inner threads of the authoritative story are combined with the relevant story in such a way that they become one. The episode of coma has become a part of Dhruvaswamini's original story, despite being different from it. Both the stories deal with the problem of women. Prasad, through this play, has looked at the problems related to women's life in various forms and on the other hand has also tried to bring to the fore those blurred pages of Gupta history, about which most historians are unaware. In Prasad's 'Dhruvswamini', there is a sense of curbing the system of an incompetent ruler, a sense of national honor, to punish the incompetent and guilty ruler. But its basic objective is 'Stree Mukti and Asmita'. What is said about women's liberation in the present times, Prasad had experienced it years ago and has also expressed it in his play. Prasad has raised the problem of existence, rights, remarriage of women in this play. Therefore, Prasad's play 'Dhruvswamini' is a historical and fictional work taking various perspectives of women's thinking in the society in totality. 

In conclusion, Dhruvaswamini indicates that the liberation of a woman is possible only when there is a change in the system. New ethics and jurisprudence should be brought in the new system. Only then will a new dimension come in the emancipation and existence of the woman. There is also an aspect related to women's emancipation, is marriage the goal of a woman's life? Is it the destiny of a woman to wander from one man to another? All these questions have been answered by 'Dhruvswamini' and it propounds that if a man is destroyed by pride and degraded by conduct, then he is not worthy of a woman. Dhruvaswamini can live alone, freed from Ramgupta, but she loves someone. After giving up till today for love, she has finally found the love of Chandragupta. In the period of history in which the dramatic events of 'Dhruvswamini' take place, perhaps Prasad's questions would have shaken that system. 

Elemental review of Dhruvswamini drama

'Dhruvswamini' is a historical drama composed by Jaishankar Prasad. In this play, the period after Emperor Samudragupta is shown in which the reins of the Gupta dynasty came in the hands of a weak and cowardly ruler Ramgupta and the Gupta dynasty was on the way to decline. Although Emperor Samudragupta wanted to make his younger son Chandragupta the successor, but by a conspiracy with the help of Amatya Shikhar Swami, the eldest son Ramgupta seized the power. 

Review of 'Dhruvswamini' based on the elements of the play. Some scholars have considered six essential elements of drama –

1. Story or plot

2. Characters and Characterization

3. Dialogue and Narration

4. Country and Environment

5. Actor

6. Purpose 

On the basis of these essential elements of the play, Dhruvswamini's play can be reviewed as follows:-

1. Storyline

Storytelling is the basic basis of any play, on the basis of which the entire drama is drawn. Before reviewing the Dhruvswamini drama on the basis of its plot, it is necessary to know its brief story. 

The Dhruvswamini play is divided into three numbers. The first number begins in the camp of Ramgupta, the second number begins in the camp of Shakraj, and the third and last number's curtain rises in the inner cell of Shakadurga and there ends the play 'Dhruvswamini'. 

It is a historical fact that Emperor Chandragupta II killed his elder brother Ram Gupta and married his wife, but this play explores the reasons behind this step taken by Emperor Chandragupta II. 

It is believed that Ramagupta was extremely cowardly and luxurious and was completely unfit to become an emperor. That is why Emperor Samudragupta appointed his younger son Chandragupta as his successor, but Ramgupta, along with his Amatya Shikhar Swami, hatches a conspiracy and marries Chandragupta's Vagdatta wife (fiancee) or beloved Dhruvaswamini and herself takes over the throne. is | 

Even on this, Chandragupta voluntarily accepts Ramgupta as the emperor. Dhruvaswamini also slowly tries to mold herself according to the circumstances. 

But Chandragupta's patience breaks down when Ramgupta, crossing all limits of his cowardice, agrees to hand over his wife Dhruvaswamini to Shakraj. 

Chandragupta himself goes to Shakraj's camp in the guise of Dhruvaswamini and kills him.

When Ramgupta wants to kill Chandragupta by deceit, a feudatory sees Ramgupta and kills him. 

In the end, Chandragupta marries Dhruvaswamini and Chandragupta becomes emperor and Dhruvaswamini becomes empress. 

In this way, the story of Dhruvaswamini's play is very interesting, succinct and well organized, which develops naturally and naturally. There is always interest and curiosity in it. With the inclusion of songs, the story has become more touching, sensitive and impactful. 

2. Characters and Characterization

Character planning plays a decisive role in the success or failure of any theatrical work. The characters give momentum to the story. It is through the characters on the stage that the story reaches the audience. 

Dhruvaswamini is a successful play from the point of view of character-scheme. All the characters seem to play natural roles in the play; None of the characters seem unnecessary. 

Chandragupta, Dhruvaswamini, Ramgupta, Shakraj and Shikhar Swami can be taken in the main characters of the play, while the minor characters are Mihir Dev, Mandakini, Koma etc. 

Some of these characters are carrying virtues and some can be called Khal characters. 

Chandragupta, Dhruvaswamini, Mandakini, Mihir Dev, Koma, etc. are endowed with virtues, while Ramgupta, Shakraj, Shikhar Swami etc. are bad characters. 

Chandragupta can be called the hero of the play 'Dhruvswamini'. He is endowed with valor, might and human qualities. Even after forcibly seizing power by his elder brother Ramgupta and losing his Vagdatta wife Dhruvaswamini, he does not oppose his elder brother, but in his heart he keeps on loving Dhruvaswamini and cannot forget her even if he wants. It is in line with the natural instincts of human beings. 

The character of Dhruvaswamini is important in many ways. On the one hand she expresses her personal sufferings, while on the other hand she points towards the basic problems of the play by raising her voice against the atrocities on women for centuries at many places in the play. 

The characters of Chandragupta and Dhruvaswamini also appear while battling the inner conflict. Those who are forced to live in isolation from each other by suppressing the feelings of their mind. 

The characters of Ramagupta, Shikhar Swami and Shakraj represent the evil tendencies of human beings. 

The characters of Koma, Mandakini and Mihir Dev, though appear for a short time in the play, leave their indelible impact. 

Despite having some partial errors, Dhruvaswamini can be called a successful creation from the point of view of character and characterization. 

3. Dialogue and Narration

Dialogues play the most important role in a theatrical work. The dialogue should be in harmony with the plot and the characters. Small dialogues often make a big difference. Small dialogues prove to be more effective on the stage, but in literary drama, sometimes large dialogues reveal many philosophical aspects. 

When Ramgupta agrees to send Dhruvaswamini to Shakraj as a gift, Dhruvaswamini breaks down. And while surrendering to Ramgupta she says -

"Protect me Protect me and your pride King, today I am a request for asylum. I confess that till date I have not been a companion of your luxury, but my ego has been crushed. I'll be yours." 

At the end of the play, Mandakini mistakenly calls Dhruva Swamini as sister-in-law, while expressing the love hidden in her heart for Chandragupta, Dhruvaswamini says:-

"Damn! By mistake you said a lovely thing today. What do you want him to return? Ahh! If it were true." 

In this way, the dialogues of the play have become very effective, although the predominance of similar vocabulary in the play. Despite this, the dialogues are simple, smooth and natural and give momentum to the plot. 

4. Country and Environment

Plays are written for staging and special care is taken of the country and the environment. The basis of the story of Dhruvaswamini's drama is the Gupta dynasty. It depicts the period after Samudragupta till Chandragupta II became the king. This time frame can be considered between 375 AD to 380 AD. 

In the presented play, Jaishankar Prasad has tried his best that through this story the political, economic, social and religious condition of the Gupta dynasty can be presented to the readers in the same form as it used to be, but Along with this, Prasad ji has also created some ideals through his imagination. As at the end of the story, the religious leader himself arranges for the divorce of Dhruvaswamini from Ramgupta and says that I clearly state that the scriptures command the salvation of Dhruvaswamini from Ramgupta. 

In this play Ramgupta's luxury, selfishness, Chandragupta's heroic valor, Dhruvaswamini and the compulsion of coma, everything is according to the circumstances of the time. 

Efforts have been made to make this play a success from the point of view of the country and environment, while accurately marking the costumes and socio-religious traditions of the characters. 

5. Actor

For the success of any theatrical work, it is absolutely necessary that it has the quality of acting. It is the last theatrical work of Dhruvaswamini Prasad. By that time the theatrical art of Prasad ji had reached its peak. Therefore Dhruvaswamini drama is a mature work from the point of view of acting and theatre. 

The play is divided into three episodes and each issue has only one scene. The whole event is completed in a very short time. 

Information is introduced at the beginning of each scene and at all places where the introduction of new characters in the middle of the scene has required a change in object position so that no confusion can arise. All the signs needed for the theatre have been created. The scenes are short and simple to stage. This simplicity does not allow any shortage in the knowledge of the country. 

The author has also given the necessary signs of color-punishment and action-trade in 'Dhruvswamini'. From these signs, the mental state of the characters, face-posture and physical gestures are explained. 

The song-planning gives a new feature to the plays of Jaishankar Prasad. These songs express the mood and inner conflict of the characters. 

The scheme of the compilation also makes the play come alive. Dialogues are short and lively, which is the most important thing for the staging of any play. 

Thus Dhruvaswamini is a successful play from the point of view of acting. 

6. Purpose

All literary works must have some purpose or the other. Prasad ji's plays are with a specific purpose. 

Regarding the purpose of his writings, Prasad ji himself says - "My desire is to guide those events from the unpublished part of Indian history which have tried a lot to make our present situation." 

On this basis, the main purpose of the play 'Dhruvswamini' is to throw light on those episodes of history on which historians have often remained silent.

Inspite of killing his elder brother and marrying his wife, Chandragupta gets the sympathy of the readers, perhaps this has been one of the aims of Prasad, because history tells the fact that Chandragupta killed Ramgupta and killed his wife. adopted but does not explain the hidden reasons behind it. 

Prasad ji makes it clear that only a strong ruler like Chandragupta can run the nation efficiently, not a coward like Ramgupta. 

Apart from this, the problems of women have also been depicted through Dhruvaswamini, which Indian society has been struggling with since ancient times till date. Treating a woman as an object of pleasure, using her for self-interest, crushing her heart's feelings and binding her in various bonds, ignoring her desires even for a sacred bond like marriage, etc. which are raised in this play. 

But at the end of the play, Jaishankar Prasad ji solves this problem through imagination, when the religious leader himself considers the liberation of Dhruva Swamini from Ramgupta as religion-friendly. 

The democratic values ​​are also shown at the end of the play where the people themselves decide to remove the incompetent ruler. 

In this way, Prasad ji has fulfilled many objectives through the play 'Dhruvsvamini'.

In conclusion, we can say that 'Dhruvswamini' is a successful play based on the elements of the play.